Creating Your Reality with Composite Photography

 

Creating Your Reality with Composite Photography

 

Lesson Info

Culling Model Shoot Images

So first thing I'm gonna do is I'm gonna go through some of these shots that we went through, mentally dissect them like I always do when I'm working on images. This one here I actually paused on this because this gives me an idea for a shot going forward in the future. So maybe if I was doing some and I don't do, I don't shoot a ton of engagement photos or anything like that but maybe if I was to, something like this concept would be kinda fun that shows a little bit of the setting above here, so you have like the paper, maybe I'll bring it down a little bit lower, but like tiny humans in environment. So, that just kinda gets my brain thinking where something in the future that maybe could be fun. So, I actually have, I'm gonna star that one as a two so that when I come back into Capture One and I'm looking at this catalog of images later I can look at it and be like oh yeah, that's right. So maybe in six months or a year from now, I'll do something with it or maybe next week but it's...

just a matter of you know, waiting for that experience and that opportunity to come to come to fruition so. So from here we're just going to fly through the photos. This one here I quite liked but of course you remember how I was saying that this area on the elbow was just a little bit weird, and if I notice it I guarantee you somebody on the internet is gonna call me out for it, so we're gonna go next. That on was intentionally shot a little bit differently. And so we're just kinda like chipping away at the poses here. So these are her hands, it's not too bad, but I mean it's still like we said this her body ratio is not this, so this is making her a little bit shorter so we'll probably pull it out a little bit in post-production. But we're just kinda sliding along here and I'm oh yeah you know these are not too bad, I might steal the hair from this one so I'm gonna mark that as a three, cause it you know just maybe if the pose at the side going forward in the future, I wanna add a little bit of texture, a little bit of movement, maybe I'm gonna do that, so I'm just making a note of it. And those are her face there going back and forth. These are kinda pretty but not really talking to me; it's very nice. And this is getting a lot nicer. Very soft, very pretty again. And that's really nice and that's the one I wound up picking right there. So that's very pretty. So I'm just kinda like literally just scanning through them. I knew when I shot it though that which one I was probably gonna work on. Actually after we finished filming, I was hit with an idea and so I shot a couple extra frames as I sometimes do, and I just had her turn her body a little bit, and we just had a couple people throwing fabric, and I wound up loving this one. I really, really, really like this one; it's very pretty. We kept the lighting setup the same, I just had her turn her back to me and just look over the shoulder. So, we're gonna start working on this one, but if for some reason it's just kinda bugging me and like I said, remember yesterday I was saying I pay attention to what's in here and I pay attention to the left side of my brain, if this is starting to feel kinda funny, I might jump over and try the other image so we're gonna probably bring both of them into Photoshop, I'm gonna look at the file with compared to the background image that I wanna use, and just see which one's gonna, I'm just gonna look at them and see which one's gonna jump out at me a little bit better.

Class Description


With the right Photoshop know-how and studio shoot experience, you can merge fact and fiction into a reality that lives up to your imagination. Renee Robyn has made a career of turning everyday photos from her travels into eye-catching images. Robyn will teach you how to add people and other elements to your existing landscape photos using ethereal custom effects.

Join us for “Creating Your Reality with Composite Photography” and you’ll learn:

  • How to choose or set up a shoot for your background image
  • How to direct posing during a shoot, and work with directional light in studio to make your subject fit into the background image
  • How to composite your subject into your image using Photoshop

Photo compositing allows you to breathe interesting ideas into your photos. Open your hard drive, walk into your memory, and turn past experiences into fantastic new realities.

Lessons

1Class Introduction
2Why You Should Sketch Your Composite
3What to Look for in Your Background
4Posing Your Model
5Communicate with Your Team
6Elements of Compositing
7Learning from Failure & Criticism
8On-Location Safety Tips
9How to Nail the Right Perspective for Your Composite Photo
10Gauging Light & Exposure On-Location
11On-Location Posing
12Cliff Shoot Location Final Thoughts
13Tips for Culling Images
14Culling Images Q&A
15Preparing Your Image for Composite
16Composite Image Cleanup
17Adding Background Image to Composite
18The Difference Between Flow & Opacity
19Composite Sky Elements
20Using Curves to Color Match
21Adding Atmospheric Depth to Image
22Using Color Efex Pro to Manipulate Color
23Using the Liquify Tool
24Color Theory & Monitor Calibration
25Adding Smoke Layer to Image
26Selective Sharpening
27Crop Your Image
28Goal Setting for Digital Artists
29Review of Location Composite
30Understand Angle & Height for Your Base Plate Image
31Base Plate Focus Point
32Base Plate Lighting Tips
33How to Use a Stand-In for Base Plate Image
34Capture On-Location Base Plate Image
35Student Positioning Demo
36Base Plate Sketching
37On-Location Sky Capture
38What to Look for in a Base Plate Model
39Building Composite Model Lighting
40Composite Model Test Shots for Angle Matching
41Composite Model Shoot: The Art of Fabric Throwing
42Composite Model Shoot: Working with Hair
43Composite Model Shoot: Posing Techniques
44Composite Test with Final Shot
45Lighting Setup Overview
46Culling Model Shoot Images
47Adjusting Skintone Colors
48Merging Background with Model
49How to Mask Hair
50Creating a Layer Mask with the Brush Tool
51Creating Shadow Layers
52Removing Visual Distractions with Stamp Tool
53Replacing Sky with Layer Mask
54Drawing Hair Strands and Atmospheric Depth
55Creating Contrast in Your Composite
56Adding Atmospheric Elements
57Using Particle Shop
58Selective Color Adjustments
59Cropping, Sharpening, & Final Touches
60Closing Thoughts